Almost exactly a year ago this album was re-released in France by Onlyroots Records. It was said at the time that they weren't interested in promo, their records would sell like that. Sure, in the inner circle of nerds, but the rest of the world doesn't notice anything. A sense that such an attitude is one of the reasons why reggae and Dub meanwhile settling on a separate, unnoticed comet is completely absent here. But records like these are simply too good for such a lack of cosmopolitanism! chanting Dub With The Help Of The Father previously stuck in a pale blue cover. Now the original Selassie photo artwork is highlighted in red, yellow and green. The original LP was released in 1978 with green lettering on Augustus Pablo's Rockers label and now costs a mid-three-digit amount. Reprints had red writing on a yellow label, but are also hard to find. Parallel to the Dubt came an ultra-rare, untitled, coverless deejay album by Prince Mohammad (ie George Nooks) on Hungry Town. With some copies, Prince became "Price", as if one had suspected that a four-digit amount would be called for the Deejay LP. the Dubs are based on tunes like Horace Andy's "New Broom", "Youths Of Today" and "Don't Let Problems Get You Down", Roman Stewart's "If I Had A Hammer" and Lacksley Castell's "Love In Your Heart". The new vinyl rumbles heartily in the empty grooves, but this is not the case with the loud ones mixed by Prince Jammy with King Tubby Dubs goes down. An All Killer No Filler Reissue still available from Only Roots. Maybe one day they'll take pity and re-issue the Prince Mohammad LP. And think about your own attitude towards public relations.
A new name with well-known protagonists from the sound systemDub-Around the west London neighborhoods of Ladbroke Grove and Notting Hill. This is where the cover photo was taken in the late 70s, this is where Nick Manasseh has his studio The Yard, where he founded the Soul Revivers with David Hill. Both are more into the left wing of Jamaican music and love the roots of the 70s. One was a Steppaz influencer from the very beginning and played with Sound Iration, the other became a consultant for labels like Soul Jazz or Auralux after his time with the Ballistic Brothers. Manasseh and Hill im Yard produced the album with musicians from the local jazz and reggae scene "On The Grove", a collection of vocal and instrumental tunes. Among others, the guitarist and founder of the band Galliano and the Ruff Cut drummer Adrian McKenzie, whose filigree, virtuosic playing builds the stylistic bridge to the present in the Retro & Roots set, are involved. Half of the songs are instrumentals with a touch of jazz, two of which serve as templates for improvisations by guitarist Ernest Ranglin. An opulent wind section is cast with veterans like Henry Tenyue, who was already on Aswad's "Live & Direct", and young stars of the scene. Among them the trumpeter Sheila Maurice-Grey, whose afro-jazz band Kokoroko is currently sweeping London. She plays the solo on the instrumental version of Earl 16's Where The River. The vocal tunes all come from prominent artists. Earl 16 has a second tune based on his 1976 song "Changing World" recorded for Augustus Pablo. The song is resurrected here as "Got To Live" and is now blessed with a brass theme for eternity. Jamaican singer Devon Russel, who died in 1997 and was recorded by Manasseh shortly before his death, sings Curtis Mayfield's "Underground". The Heptones' old Studio One backing track "Tripe Girl" is refreshed for a new song by soul singer Alexia Coley. And Ken Boothe contributes a tune about which David Rodigan says, "Believe me, in time 'Tell Me Why' will be considered one of his greatest tracks." It was clear this album needed one Dub-pendant. And it was equally clear that the Dubs had to be created analogously on the mixing console. “In times when music is created entirely on the computer,” says Nick Manasseh, “mixing remains Dub an area where old-school mixers, filter, reverb, and echo gear are irreplaceable for the organic feel of Dub.” Where the recordings of “On The Grove” were made, Manasseh also has "Grove Dub" mixed. From the music behind the chants, he created filigree, never coarse mixes, over which a network of picturesque echoes stretches. Already the prelude “Meanwhile Dub“ celebrates them DubArt as a dynamic interplay between offbeat, trombone fills and drum'n'bass parts. The subtle charm of the unobtrusive opener continues in the other titles, where the original singers and instrumentalists only deliver splashes of color. Something else would have been created on the computer, Manasseh is sure of that, his mixes stand for the moment in which they happen: "Dub is spontaneous. You decide on the fly and it takes as long as the tune runs. Three minutes thirty and you have one Dub.” The release of both albums on the renowned Acid Jazz label shows the high status of both records, which are just as shaped by the NuJazz hype of London as by the golden years of the Dread & Roots era.
Expectations were high after Dub Store Records 2016 with Errol Brown's "Orthodox Dub“ a true one Dubtreasure had recovered and then the new edition of the "Concrete Jungle Dub" announced by Winston Riley. After all, this is a highly sought-after album, of which just 1976 copies were pressed in London in 300. The LP was in a neutral cover and was hardly seen after the release. The myth-making of the LP attributed to King Tubby skyrocketed. Exorbitant sums were paid for the rare specimens that appeared on the collectors' market. 2018 laid Dub Restock this obscure object of desire at a regular price, both on LP and CD. The reissue now had a cover with a photograph taken from the back cover of the Jamaican pressing of Pat Kelly's 1976 LP "Lonely Man". It shows Winston and Buster Riley at the helm of Harry J Studios. Viewed soberly, the excellent sounding ones Dubs like the "Stalag" riddim, Donovan Adams' and I Roy's "Who Is The One" or Johnny Osbourne's "Ready Or Not" far less spectacular than the myth would suggest. Whether all versions were actually mixed by Tubby himself is not as clear as claimed. The wordy liner notes bring little light into the darkness. The vinyl of the new edition is currently available again. Whether re-pressed or as stock is unclear. But no matter where the copies come from, it's one of those legendary records that will definitely sell out at some point. And then prices will go up again.
A new one will be released today via Greensleeves / VP Records Dub King Jammy album. No, not a re-issue, but actually a new, real, haptic album. Would the senior – he is now 74 years old – don't sift through his holdings from time to time and go back to the lectern, Jamaicas Dub-Scene would be completely fallow. The high publication frequency of Alborosie falls out of the rating, he is a special case as a newcomer. A local next Dub generation does not exist. Although 2018 Teflon Zincfence with the promising sound-creative statement album "Dub Policy“ surprised and with numerous reminiscences to the golden era of the Dub showed historical awareness. In the end, it was just a brief gasp that didn't lead to a haptic release. the Dubtonic Kru guitarist Jallanzo tries neo-Dub ina UK style and so far has one digital album put on the way. Rory Stonelove's militantly dark Dubs are the positive exception, but only know insiders who are willing to invest a lot of money in showcase vinyl for LPs like Samory I's "Black Gold" (which definitely pays off!). And the Jamaican Nu Roots singer Micah Shemaiah's “Still”, rightly celebrated as last year's album, is ambitious dubwize mixed and has four Dubs on board, but originated in the hands of an American in Florida. The last Dub- Only Lloyd James holds shares in Jamaica. After his rather low-tension “Waterhouse Dub“ from 2017 he now puts “Destroys The Virus With Dub' and demonstrates attitude. While Jamaica is also struggling between thinking and thinking differently, he votes Dub-Virologist for injection, lockdown, social distance, quarantine, tracking... Every single track is a beacon against those who are roaming the streets with Bob Marley's "Get Up Stand Up" because of the corona measures. The mixes are based on songs by Barry Brown, Sugar Minott, Patrick Andy's "Every Tongue Shall Tell" or Hugh Mundell's "Jah Fire Will Be Burning" from 1980, which in the short form "Jah Fire" became the title track of the LP with Lacksley Castell. Ironically, Jammy's 1981 horn-enhanced remix of Black Uhuru's "Time To Unite" becomes "Closed Border Dub“. All tracks are staged with age-appropriate ease. Jammy had started to completely digitize its productions early on. now dubhe practices with digital equipment from digital sources. what his Dubsound inevitably changed. He no longer screwed the tunes through endless echo loops, but designed them with clear bass tones as grooving instrumentals. The reverb rumbles in muffled basements and is often clipped by a gate, while horns boost injections of sharp brass above it. The new sound design manages even digital riddims that caused the crash of the Jamaican in the mid-1980s Dub caused to integrate organically. Tracks by Junior Delgado or Frankie Paul's "Peel Off A Mask" from the 1987 LP "Sara" as well as Gregory Isaac's Thinking Riddim from his 1988 LP "Come Along" are only out of the ordinary because of their mechanical drum sound. They do not form any disruptive factors between the analogue playbacks. All mixes live from the hooklines of well-known tunes from the successful producer. "Destroys The Virus With Dub' comes on vinyl with 10 tracks, the CD version has two more.
Dub Mixes by Peter Chemist are characterized by an unconventionally brittle aesthetic. Because Chemists output with just a handful Dub-LPs has remained quite manageable, here is a showcase album that he produced. You don't know for sure: Does the LP now have the title “Showcase” or is it just an indication that “I'm Still Dancing” is a showcase album? In any case, it is certain that the singer is not called Michael, as on the cover, but Michael Palmer. His first LP from 1983 had been wanted for a long time and rightly so, and could hardly be bought for less than a three-digit figure. Enriched with liner notes by John Masouri on an extra sheet, the record is now available in French, true to the original Iroko label. With the old cover including misprints, Limonious comic back side and without a bland barcode. Michael Palmer, born in 1960, had his first single “Mr. Landlord ”, but the tune only became successful on the Get In The Groove riddim after Sonia Pottinger recorded it again in 1980. From then on, Palmer became one of the acclaimed singers of the pre-digital Dancehall Foundation in recent years. He wasn't a dread, he saw himself as a roots reality singer. Palmer came from the “fiery hell” of Kingston 13 (Maxfield Park) and sang in the opener of his debut produced on Channel One: “Uptown people want to dance funky - people in the ghetto dance the waterpumpee. Uptown people dance electric boogie - people in the ghetto do the cool & deadly ”. The riddims came from the Roots Radics and were presumably recorded by Scientist. There is no other way of explaining how his name got on the cover. Because "I'm Still Dancing" is the work of Peter Chemist, whom Palmer specifically mentions in "Ghetto Dance". The sound of the production, with barely noticeable hihat and idiosyncratic echoes, also points to Peter Chemist. He's producing rough ones in an extraordinarily spartan way Dubs to the six vocaltunes. He mixes the party time riddim without a hihat with playful echoes and accents on the snare. "Ghetto Dub“Positions the drums with gated reverb effects around a distorted guitar theme. "Gwan Dub“Reduces the drum kit to a kick drum with underlaid snare echoes. Palmer continued his collaboration with Peter Chemist on his George Phang-produced, extremely successful follow-up album "Lick Shot", on the back of which he talks about his way of writing songs. Which makes the statement “all tracks written by Jah Thomas” on “I'm Still Dancing” seem questionable. Thomas had produced the album for his Midnight Rock label, but otherwise stayed out of it. He left the deejay part for a Greensleeves Maxi of the hit "Ghetto Dance (Babylon give wi a chance)" to Jim Brown, another Greensleeves Maxi with the title track from the LP and Robert French's "No War" on the B-side is due to the Peter Chemist Mixes a sought-after rarity that is worth every investment. The sonically convincing new edition of the LP attracts not only strong vocaltunes but also its unusual Dub-Style. (The slightly changed text first appeared in RIDDIM 02/21)
(This text has been machine translated.) It's Friday April 23rd and Alborosie's sixth dub album is out today. Let's not kid ourselves, the candidate has been chosen. "Back-a-yard Dub“ will hardly be able to be pushed from the pole position of this years Dub-Charts. Because it's not just grandiose sounding, modern old school Dub is in the tradition of real versions, but also an audio event that works on its own, which even without deejay, dancehall or sound system blows away everything that gets in its way with murderous waves. The album is the counterpart to the Wailing Souls LP "Back A Yard" released a few weeks ago, which Alborosie produced in his studio with a lot of Eighties fanfare, Simmons and synth drums. Flabba Holt from the Roots Radics played bass, Tyrone Downie from the Wailers played the keyboards. After the powerful old work of the Wailing Souls was in the can, Puppa Albo has the "Alborosie Dub Station "thrown on. It's his newest toy, a plug-in he developed that is able to reproduce the typical effects from King Tubby's studio. The reverb and the sound of the tubby tape echo are less spectacular, but very nice. Absolutely awesome, however, is the digital replica of the high pass filter. In combination with the variety of instruments of the Wailing Souls template and the Dubskills from Alborosie, the new effect board creates a monstrous spectacle. Assembled to an anarchic ping-pong excess full of reverb and filter effects that have never been heard before. Comparable to the force of sound of a Groucho Smykle. But he has to record additional keyboards to stage his wall of sound. Alborosie, on the other hand, benefits from the complexity of its production and packs for him Dub a few more felt dB on it. No matter what the people say, these sounds lead the way! His mix is like a sales recommendation for the device he has developed, and initial reactions in social media are already showing that this plug-in will be able to use it in the near future Dub is mastered over a wide area. That the LP “Back-A-Yard Dub“Means - and means: back in Jamaica - and the packaging is reminiscent of the aesthetics of the old stamp print cover, not only alludes to the fact that alborosies are by chance Dub is created where it comes from. If there were 10 stars, this LP would get 15.
PS: When the text was written, no streaming links were yet activated. There are audio samples here. Or you trust the reviewer and get the LP straight away. Vinyl won't be around forever anyway.
In 1981, Indiana Jones began the hunt for the lost treasure, which not only caused a tremor in the cinema. In the same year, the booming one reacted Dubworld on the hype with "Raiders of the Lost Dub". It wasn't the first time that Dubinspired by Hollywood albums - just think of “Star Wars Dub"," Scientist & Jammys Strike Back "or the" Tough Guys "of the Fatman Riddim Section - but rarely has it been copied as brazenly as in this case. The cover artwork was a copy of the "Raiders Of The Lost Ark" soundtrack by John Williams, even the The lettering was identical. Island Records had approved the forgery, after all the vocal versions came from the Dubs from their greatest hits catalog. Burning Spears “Social Living” and I Jah Man's “Molding” had been pulled through the effect board by Karl Pitterson, “Man Next Door” in the version of the Paragons got one Dubtreatment by Steven Stanley. Sly & Robbie had produced and played six of the ten titles themselvesdubbt, including Junior Delgados “Fort Augustus” and “Guess Who's Coming To Diner” by Black Uhuru, who participated in the hunt with four songs. The album was shaped by the fact that the studio technology was no longer limited to four tracks and access was no longer limited to Dubben had become more variable as a result. The mixes looked correspondingly hard and modern when the LP was released in the same year as the film and soundtrack. As soon as it came, it disappeared again. It is said that legal issues with the cover meant that “Raiders of the Lost Dub“Has never been re-pressed. Music On Vinyl has the Brutal DeluxeDub-Adventure refreshed by a dust-free master and the LP reissued for the first time in almost 40 years with the original artwork. (The slightly changed text first appeared in RIDDIM 01/21)
For two short years, between 1979 and '80, that brought that originally to Bunny Lee ATTACK Label that already belonged to Trojan at the time, exorbitantly popping Maxis out, most of them recognizable by the logo highlighted in yellow, with red letters on a dark green background. In some cases the blue Trojan label was also used. There were a total of 25 pieces, most of which are in great demand today because of the mixes of Prince Jammy and Scientist that can be found here and only here. Including extended killer versions of Barry Brown's "Living As A Brother", "Separation" and "Cool Pon Your Corner", Morwell's "Kingston Twelve Tuffy", Linval Thompson's "Pop No Style" and Michael Rose's "Born Free". The picture with the labels of these maxis comes from the booklet of a strangely compiled one DoCDon which one, separated from the vocals, 19 of that attackDubs as - as the booklet calls it - finds “generous” bonus material. Including the previously mentioned titles. But there are two completely different hooks for the compilation Dub-Albums that absolutely do not match each other stylistically. On the one hand, “A.1 Dub", Mixed with Blacka Morwell in Kingston in 1980 Dubs for Morwell's 1979 LP “Cool Runnings” and mixing the “Taxi” and “Get In The Groove” riddims. On the other hand, “Cry Tuff Dub Encounter Chapter IV ”, the counterpart to Prince Far Is“ Voice Of Thunder ”, mixed a year later in London by Adrian Sherwood. Although the DoCD's liner notes endeavor to link the albums and both LPs are individually excellent, the Attack BonusDubt's the real reason this set is better not to be missed. Especially since you would have to invest significantly more money for each of these maxi than for the always inexpensive DoCDs from the English re-issue label Doctor Bird. (A shorter version of the text appeared in RIDDIM 01/21)
The hype about the empire will never stop. So Secret Records reissued it four years ago "Star Wars Dub" Burning Sounds LP re-pressed in "authentic" red vinyl. It is one of those sought after Dub LPs that Phil Pratt sold to the English label at the end of the 70s without any further information, the first presses of which always came in colorful vinyl. You hear that the tracks' home station was Channel One Studio and that Sly Dunbar was in the engine room. But you have to cruise through the Jamaican galaxy for a long time to come across originals like Jimmy London's “Ride On” or “Open The Gate” by Well Pleased & Satisfied. Difficult to say who mixed. Nevertheless, despite Darth Vader on the cover, liner notes dramatically flying past interesting facts and the occasional cracking of the pressure, you don't crash into the mixes. (An earlier version of the text appeared in RIDDIM 04/20)
"Him don't steal, him don't gamble, talking 'bout man called Michael Campbell" it says at one point on the LP. Michael Campbell (1954 - 2008) alias Mikey Dread came to fame when he started a hugely successful radio show for the Jamaican Broadcasting Service (JBC) in 1976 after training as a radio and sound engineer, with which he spent four hours six days a week Midnight invented the reggae radio format. He was the first to go live on air in Sound System Style. After two years, Campbell fell out with JBC. He quit, founded the Dread At The Control (DATC) label, and began producing himself and others. The first LPs from 1979 copied both the principle and the title of his discontinued radio show: On the debut "Dread At The Controls" (aka "Evolutionary Rockers") Campbell presented himself as a mixture of MC and Deejay. Same with the successor "African Anthem Dubwise " then he not only succeeded in his best album ever, but also one of the most brilliant Dub LPs of all time. A monster of version culture that was essential to the European success story of the Dub contributed. The basis was two songs produced by Mikey Dread by Rod Taylor ("Behold Him" + "His Imperial Majesty") and Edi Fitzroy ("Country Man" + "Miss Molly") as well as five of his own tracks. The riddims were mixed by Prince Jammy in a night session at King Tubby and then shipped to London. There the Englishman Dave Hendley, who died in 2016 and who was close friends with Campbell and Jammy, dived on his short-lived cruise label “African Anthem Dubwise “appeared first, a truckload of jive talk, synth, sound and voice effects over the raw Dubs what gave them an archaic ferocity. In contrast to the over also made in Englanddubs with the Greensleeves albums by Scientist, the action was discussed with Mikey Dread or specifically ordered by him. He had given Hendley a prepared tape with Gimmix, all of which came from his radio show. Including many jingles such as “Oh my gosh, the music just turns me on”, “Riddim full of culture, ya” or “Brandnew - Good For You”, which became classics that were sampled a thousand times over. "African Anthem Dubwise “was last published 15 years ago in an extended deluxe version with a different - banal - cover. Music On Vinyl has re-released the LP in the original artwork, with a modern, bulbous and less shrill sound. It was first published in a limited edition of 1.000 numbered copies in blue vinyl, and on January 29.01.2020, 04 it will be available in black vinyl. Everything else there is to say about the record, Big Youth explains at the beginning of page two: “Who is the man who plays Roots Rock Reggae? Michael Campbell, the Dread at the control, to thrill your soul. Alright? Alright! "(The text first appeared in RIDDIM 20/XNUMX and has been updated.)